Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Angola and from Seoul.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1963 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and London.
I'm losing my edge to the art-school Houston kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1968 at the first Can practice in a loft in Cologne.
I was working on the rhodes sounds with much patience.
I was there when Tom Verlaine started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing John Cale to the dance kids.
I played it at CBGB's.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Arthur Verocai. All the underground hits.
All Boredoms tracks. I heard you have a vinyl of every ABC record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Theoretical Girls record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
Rowland S Howard / Lydia Lunch,
Lou Reed,
T.S.O.L.,
Television,
Electric Light Orchestra,
The Gap Band,
Con Funk Shun,
Excepter,
Lee Hazlewood,
The Alarm Clocks,
Thinking Fellers Union Local 282,
Kerrie Biddell,
Echo & the Bunnymen,
Stereo Dub,
Ronnie Foster,
the Bar-Kays,
Marc Romboy vs. Booka Shade,
Jawbox,
Bizarre Inc.,
Oneida,
New Age Steppers,
Reuben Wilson,
Make Up,
The Count Five,
The Knickerbockers,
Buzzcocks,
Traffic Nightmare,
Bauhaus,
Major Organ And The Adding Machine,
The Toasters,
The Smiths,
X-Ray Spex,
Aural Exciters,
The Fugs,
Country Teasers,
Delon & Dalcan,
Louis and Bebe Barron,
Vaughan Mason & Crew,
Soft Machine,
Black Moon,
Minnie Riperton,
Bang On A Can,
Maleditus Sound,
Ponytail,
Unwound,
Cecil Taylor,
Ultimate Spinach,
AZ,
Andrew Ashong & Theo Parrish,
OOIOO,
A Flock of Seagulls,
cv313,
Oppenheimer Analysis,
Crispian St. Peters,
Panda Bear,
Agent Orange,
Camberwell Now,
Inner City,
The Wake,
Grandmaster Flash and the Furious Five,
The Beau Brummels, The Beau Brummels, The Beau Brummels, The Beau Brummels.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.